Mute for stringed musical instruments



Feb. 11, 1936. F. Q. MIR ANDA MUTE FOR-STRINGED MUSICAL INSTRUMENTS 2 Sheets-Sfieet 1 Filed Sept. 18, 1934 INVENTOR F Minna a.

ATTORNE Feb. 11, 1936. F. Q. MIRANDA MUTE FOR STRINGED MUSICAL INSTRUMENTS Filed Sept. 18, 1934 2 Sheets-Sheet 2 O INVENTOR F Miranda yfr TQRNEY Patented Feb. 11, 1936 UNITED STATES PATENT OFFICE MUTE FOR STRINGED MUSICAL INSTRUMENTS 15 Claims.

This invention relates to a device for rendering mute or to damper the sound of musical stringed instruments, such as the violin, viola, Violoncello and basso, and it is an object of the invention to provide such a device that may be readily attached or detached from the instrument.

Another object of the invention is to arrange the different parts of the device and mount the same on the instrument without affecting the ring or quality of the sound of the instrument.

A further object of the invention is to permit the muting of the sound of the instrument without interrupting or interfering with the execution of a musical composition.

It is another object of the invention to permit the adjusting of the device to predetermined positions for long periods of time, as during the playing of a long musical composition.

Further objects and advantages will hereinafter appear.

The embodiment of the invention of the application comprises a resilient member releasably mounted on the tail piece of the instrument and carrying a saddle member to normally position said saddle member in spaced relation to the string supporting portion of the bridge of the instrument and means actuated either by a foot or hand of the player to flex the resilient member and position the saddle member in contact with the bridge with variable pressure.

In the drawings accompanying and forming a part of this application, Figure 1 is a perspective view of a violin showing the embodiment of the invention applied thereto and operative by the foot of the player.

Figure 2 is a view, on an enlarged scale, of the device looking at the top thereof.

Figure 3 is a cross sectional view of the device taken on the line 3--3 of Figure 2 looking in the direction of the arrows.

Figure 4 is a perspective view of the means dissembled for releasably mounting the resilient member on the tail piece of the instrument.

Figure 5 is a perspective view of the lower or tail end of a Violoncello showing the embodiment of the invention applied thereto.

Figure 6 is a perspective view of the device showing the form of actuating means used when the device is applied to a Violoncello or basso.

Figure 7 is a view of a supporting bracket of the actuating means shown in Figure 6.

Figure 8 is a fragmentary sectional view taken substantially on the line 8-8 of Figure 9 looking in the direction of the arrows and showing the mounting of the resilient member and a fixed portion of the actuating means operative by the hand of the player.

Figure 9 is a perspective view of the device with a portion of the saddle member broken away and showing the form of actuating means manipulat- 5 ed by the hand of the player.

Figure 10 is a view, on an enlarged scale, of the manipulating portion of the actuating means shown in Figure 9 engaged on the resilient member and the fixed portion of the actuating means; and

Figure 11 is a view showing the normal position of the saddle member relative to the string supporting portion of the bridge of the instrument. 15

In carrying out the invention illustrated in the drawings, the mute or dampering device is adapted to be releasabiy mounted on a tail piece T of the usual structure secured to the tail end of an instrument V by a loop of cord C fixed at the ends to the tail piece and engaged around a pin P fixed in and extended from the tail end of the instrument, the free end of the tail piece being arranged with a series of holes H to permit the securing of the strings S of the instrument thereto. The means for mounting the device on the tail piece comprises a Y-shape member I2 having the extremities of the leg portions 0t hook shape and the ends tapered to a fine point, as at l3, to engage the undersurface of the tail piece at the opposite side and free end portions thereof and the curve of such extremities being out of contact with the edge of the tail piece, as shown at M in Figures 3 and 6, to reduce to a minimum any effect on the quality of the sound of the instrument. The shape of the mounting member IE will permit a ready engagement thereof on the tail piece T and said mounting memher is releasabiy secured in position on the tail piece by a set screw i5 having a knurled peripheral head adjustably mounted in the member at the juncture of the leg portions to abut the upper surface of the tail piece, and impinge the pointed ends l3 against the under surface of the tail piece, as shown in Figure 3.

The mounting member i2 is arranged with an ear portion I5 extended upwardly from a longitudinal edge of the member and having a hole l'l therein to facilitate the mounting of a flat tubular member l8 arranged with an ear H! extended from a longitudinal side thereof and having a. hole 20 to be positioned in register with the hole I? and engaged by a headed pintle 2| with the head abutting the ear I9 (Figures 1 to 6, inclusive) and the opposite end screw threaded 55 in hole I! and projecting beyond the ear Hi to permit longitudinal adjustment of the pintle. The head of the pintle 2| is arranged with a series of perforations 33 about the periphery thereof for the engagement of a tool to facilitate the adjusting of the tubular member l8 about the pintle 2|;

A fiat member 23 of resilient material, such as spring steel, is securely engaged in the tubular member I3 with a substantial portion thereof extending beyond the tubular member and having at the. free end a tubular portion 24 for the fixed engagement of a rod 25 having its free end screw threaded for the releasable engagement of a correspondingly screw threaded bore in a block 26, as shown in Figure 3. The block is preferably made from ebony and has lateral portions extending from the opposite sides thereof with the under surface tapering from the body of the block in an arcuate direction, as at 21, in Figure 11, and the upper surface having grooves or channels 28 extending to the free ends in an arcuate downward direction, as shown in Figure 9. The dampering portion of the device is in the form of a saddle member comprising the block 26 and a band 29 of resilient material, such as spring steel, and of arcuate formation having the center portion depressed with a fiat section to engage the upper surface of the body of the block, as at 30, and having a perforation to be engaged by a knurled headed screw 3| adapted to be screw threaded into the block, as clearly shown in Figure 3. The arcuate portions of the band extend; ing from the center depressed portion engage the grooves 28 of the block 26 with the opposite free ends positioned in spaced relation to the upper corners of a bridge B of the instrument and said ends being weighted and rendered inflexible by metallic blocks 32 secured to the band by any suitable means, such as by soldering.

The tubular member I8 is adjusted on the pintle 2| to normally position the block 28 and the weighted ends 32 of the resilient band 29 in spaced relation to the bridge B, as shown in Figure 11, and means are provided to flex the resilient member and position the body of the block 26 in contact with the string supporting portion of the bridge between the center strings of the musical instrument with the arcuate portions 21 of said block out of contact with said strings and the weighted ends 32 in contact with the upper corners of the bridge but not engaging the outer strings, as shown in dotted lines in Figure 11, thereby preventing any impairment to the tone of the instrument. In applying the mute device to a violin or viola and actuating it at the will of the player during the playing of a musical composition, the means to flex the resilient member 23 comprises flexible means, in the present instance a cord 34 preferably lined with silk fixed at one end to the tail pin P of the instrument and passed under the back thereof to the left bout of the waist of the instrument, then passed over the rod 25 between a projection 35 fixed in and extended from the rod, and the block 26, and then engaged with the right bout of the instrument with the free end'of the cord arranged with an adjustable loop formed by a clasp 36 of any suitable form, such as a resilient member having opposed legs yieldingly urged against each other, slidable on the cord and having the free end of the cord connected thereto, as clearly shown in Figure 1. The looped end of the cord is engaged in an eyelet 31 arranged at an end of a rod 38 'having. the opposite end similarly arranged with an eyelet 39 engaged in an eyelet 40 fixed in and projecting from an end of a plate 4| preferably of rubber being normally engaged by the toe of the actuating foot of the player and the rod 38 forming a foot pedal with a portion thereof adjacent the toe supporting plate being covered with rubber, as at 42, for the engagement of the toe of the actuating foot and prevent slipping of the toe during the actuating of the mute and the sliding of the toe from the plate to the rod. To prevent the moving of the cord over the bouts of the instruments from interfering with the quality of the sound of the instrument, the portions of the cord adjacent the bouts are covered with rubber, as indicated at 43 in Figure 1. The actuating means applied to a violin may be readily adjusted to accommodate the instrument for players of different heights and permit the playing of the instrument either in a seating or standing posture by sliding the clasp 33 along the main portion of the cord 34. The portion of cord 34 engaged over rod 25 is composed of two or more elastic strands covered with silk.

In applying the mute to a Violoncello or basso, the actuating means 34 used with a violin or viola must be slightly modified as the distance between instrument and the pedal 38 is considerably less in a Violoncello or basso and the relative position of the instruments to the pedal is also different, as clearly shown in Figures 1 and 5. The

cord 34 is shorter and directly connected at one end to the eyelet 31 of the pedal 38 without the adjustable loop as the position of the Violoncello or basso relative to the pedal is always fixed, and the cord is passed under the tail piece with the opposite end of the cord arranged with a hook 44 releasably connected to a flexible member, such as a cord 45, fixed at one end to the rod 25 between the projection 35 and saddle block 26 and the opposite end having a book 46 attached thereto adapted to be releasably engaged with an eyelet portion 41 at the angle of an acute angle member 48 having the free ends bent laterally and arranged with straight portions, as at 49,

to be engaged in the opposite end holes H of the tail piece with the portions 49 abutting the under surface of said piece and releasably retained Upon depressing the pedal 38 the cord 34 will be moved in a downward direction away from the cord 45 thereby pulling on said cord 45 and flexing the resilient member 23 to position the saddle member in contact with the bridge as hereinbefore described. The plate 4| when used with a muting device mounted on a Violoncello or basso is arranged with a hook member 52 secured to the free end of said plate to facilitate the positioning of the plate by the player by engaging said hook with the point of the bow and also permit the hanging up of the plate when not in use. In the use of the actuating pedal with a violoncello or basso the rod 38 will come into contact with the supporting pin P of the instrument and to prevent undue noise said rod adjacent the pin is covered with a portion of rubber tubing or other suitable material, as shown at 42' in, Figure 5.

The length of the cord 34 when used either with a violin or Violoncello is such that it will be in taut condition at all times to assure a positive actuation of the mute.

It may be desirable to have the instrument muted continuously at a predetermined pressure during the playing of a long musicalcomposition and; to do this by the use of the pedal 38 will be rather tiresome as it will be necessary to maintain the actuating foot in one position for long periods of time. To accomplish this result without the use 01' the foot pedal, the actuating means comprises a bar 5| of varying widths having' an opening at the widest end corresponding to the opening 20 in the ear l9 to be engaged by the pintle 2| engaged in the ears l6 and iii. The bar extends from the pintle 2| in parallel and juxtaposed relation to the tubular member l8 toward the saddle member to a pointbeyond said tubular member where it is bent at an obtuse angle and extended inwardly toward the resilient member 23, as at 53, to a point directly below the resilient member where it is again bent to extend in alinement with and below the resilient member, as at 54 in Figure 8. The portion 54 of the bar below the resilient member is arranged with angular sections 55, 56, progressively diverging away from the resilient member, with the free end of l the bar adjacent the section 56 being of hook form, as at 51. To flex the resilient member 23 toward the angular sections 55,56 and maintain said member in adjusted positions, an elongated ring member 58 is engaged to encircle the resilient member and the bar portion 54 at the opposite ends thereof, as clearly shown in Figure -10, and having a pro- Jection or protuberance 59 at the upper end to facilitate the sliding of the ring along the resilient member and bar." In the normal inoperative position of the mute the ring member is engaged in the angle formed by the portion 53 and the section of portion 54 of the bar, as shown in Figure 9. To lightly engage the saddle member with the bridge of the instrument the ring member 58 is adjusted to engage the angle formed by the sections 55 and 55 of the portion 54 and to place the saddle member against the bridge under maximum pressure the ring member is positioned against the hook end 51. It is to be understood that the mute actuating arrangement shown in Figures 8 to 10, inclusive, may be used on any of instruments hereinbei'ore mentioned.

All of the parts which come into contact with the instrument, such as the pointed ends I3 of the Y-member l2, the set screw l5, theundersuri'ace oi the body of block 26, the weighted ends 32 of the saddle member 29, and the wing nuts 50, may have interposed between them and the instrument a thin piece of leather or cloth to avoid undue vibration.

When the use of a mute is not desired the mute may be readily removed from the instrument by disengaging the resilient member 23 from the tubular member l8 and removing the actuating means of said resilient member.

It is to be understood that the dimensions of the diiTerent parts of the device will vary in proportion to the size of the instrument to which it is to be applied as indicated by a comparison of Figures 1 to 3, inclusive, with Figures 5 and 6.

It is also to be understood that various modifications may be made in the construction and arrangement of parts and that portions of the invention may be used without others, and come within the scope of the invention.

Having thus described my invention, I claim:

1. In a. mute for stringed musical instruments having a string supporting bridge, a resilient member adjustably mounted at one end on the instrument to have adjustment about an axis extending transversely of the member to position the free end of the member toward and away-from the instrument, a saddle member carried by the free end of the resilient member to be. normally positioned in spaced relation to the upper portion of the bridge of the instrument, and-means connected to the resilient member adapted to be actuated to flex said resilient member and position the saddle member in contact with the bridge with varying pressure.

2. In a mute for stringed musical instruments having a string supporting bridge, a resilient member adjustably mounted at the free end of the tail piece of the instrument, a saddle member carried by the free end of the resilient member to be normally positioned in spaced relation to the upper portion of the bridge of the instrument, and flexible means fixed at one end to the instrument and connected to the resilient memberand adapted to be actuated to flex said resilient member and yieldingly engage the saddle member with the bridge upon the actuation oiisatd flexible means. g 3. In a mute for stringed musical instruments having a tail piece and string supporting bridge, a Y-shaped member having the extremities of the legs thereof arranged to mount the memberon the tail piece of the instrument, a resilient mem-.'

ber supported at one end thereof by the Y-shaped member, a saddle member connected to and supported by the free end of the resilient member to be normally positioned in spaced relationto the upper portion of the bridge of the instrument,- and flexible means fixed at one end to the instrument and extended parallelly of the saddle member adapted to be actuated to flex'the resilient member and yieldingly engage the saddle member with the bridge. l

4. A mute for stringed musical "instruments as, claimed in claim 3, wherein the extremities of the Y-shaped member are of hook form to engage the under surface of the tail piece, and means ad,-. justable in said Y-member to engage the upper. surface of the tail piece to impinge the extremities against the tail piece and secure the Y-member to the tail piece.

5. A mute for stringed musical instruments as claimed in claim 3, wherein the resilient member having a tail piece and string supporting bridge,

a resilient means mounted at one end on the tail piece of the instrument, a saddle member car-: ried by the free end of the resilient means in spaced relation to the string supporting portion of,

the bridge of the instrument, flexible means fixed at one end to the instrument and extended trans-. versely of and in contact with the resilient means, and a foot actuated pedal connected to the end of the flexible means opposite to the end flxed to the instrument adapted to exert a force on said flexible means to flex the resilient means and position the saddle member in contact with the bridge.

7. A mute for stringed musical instruments as claimed in claim 6, wherein the connection between the flexible means and the pedal is adjustable to permit the instrument to be played by persons of different height.

8. In a mute for stringed musical instruments having a tail piece and string supporting bridge, a base member mounted on the tail piece oi the instrument and having an ear, a tubular member pivotally supported by the car, a member of resilient material engaged at one end in the tubular member, a saddle member fixedly connected to the free end of the resilient member to be normally positioned in predetermined spaced relation to the string supporting portion of the bridge of the instrument, and flexible means extended transversely between the resilient and saddle members and adapted to be actuated to flex the resilient member and engage the saddle member with the bridge.

9; In a mute for stringed musical instruments having a tail piece and string supporting bridge, a resilient member adjustably mounted at one end on' the tail piece of the instrument, a saddle member, means connecting the saddle member to .the free end of the resilient member to normally instrument, a projection extended from the means connecting the saddle member to the resilient member in spaced relation with a portion of the saddle member, a flexible member fixed at one end to the instrument and engaging the connecting means between the projection and saddle member, and means connected to the flexible member and operative to actuate said flexible member and flex the resilient member to position the saddle member in engagement with the bridge.

10. A mute for stringed musical instruments as claimed in claim 9, wherein the saddle member comprises a block having opposed laterally extending portions with the undersurface thereof extending in an arcuate upward direction from the body of the block, and a curved member of resilient material fixed intermediate the ends thereof to the block, the under surface of the block engaging the middle section of the string supporting portion of the bridge and the end portions of the curved member engaging the upper corner portions of thebridge upon the flexing of the resilient member.

11. In a mute for stringed musical instruments having a tail piece and string supporting bridge, a resilient member adjustably mounted at one end on the tail piece of the instrument, a saddle member connected to the free end of the resilient member to be normally positioned in spaced relation to the string supporting portion of the bridge of the instrument, a member flxed to the tail piece and extended therefrom in line with the longitudinal axis thereof, a flexible member connected at the one end to the resilient member and the saddle member and the opposite end connected to the member extended from the tail piece, and means connected to the flexible member adapted to actuate said flexible member and to flex the resilient member and position the saddle member in contact with the bridge.

12. In a mute for stringed musical instruments having a tail piece and string supporting bridge, a resilient member adjustably mounted at one end on the tail piece of the instrument, a saddle member connected to the free end'of the resilient member to be normally positioned in spaced relation to the string supporting portion of the bridge a: the instrument, an angular member having the free ends thereof releasably mounted on the tail piece to extend in alinement with the resilient member, a flexible member connected at the one end to the resilient member and the saddle member and the opposite end connected to the angular member, and means connected to the flexible member intermediate the ends thereof and adapted to actuate the flexible member to flex the resilient member and position the saddle member in contact with the bridge.

13. In a mute for stringed musical instruments having a. tailpiece and string supporting bridge, a resilient member mountedon the tail piece of the instrument, a saddle member connected to and carried by the resilient member to be normally positioned in spaced relation to the string supporting portion of the bridge of the instrument, a rigid member arranged with a series of angle portions and mounted relative to the resilient member to progressively diverge from said member, and means slldably engaged on the rigidand resilient members to be actuated relative to the angle portions of the rigid member to flex the resilient member toward the rigid member and hold the saddle member in contact with the bridge under variable pressure.

14. A mute for stringed musical instruments as claimed in claim 13, wherein the means slidably engaged on the resilient and rigid members comprises an elongated ring member having a protuberance extending from one end thereof to facilitate the moving of the ring along the resilient and rigid members.

15. In a mute for stringed'musical instruments having a tail piece and string supporting bridge, a base member releasably mounted on the tail piece of the instrument and having an ear extended therefrom, a resilient member supported on the ear, a saddle-member connected to the resilient member to be normally positioned in spaced relation to the string supporting portion of the bridge of the instrument, a rigid member supported by-the ear juxtaposed to the resilient member and having a series of portions extending at obtuse angles to each other and diverging from the resilient member, and a ring member slidably encircling the resilient and rigid mem'- bers and adapted to be moved to the angle portions of the rigid member to variably flex the resilient member and position the saddle membeer in contact with the bridge. 7

FRANCISCO QUINTANA MIRANDA. 

